2012 ARTIFICIAL FELLOW TRAVELER 2011 GREEDY 2009/2010 EXTINCTION 2007 GRAND DELUSION 2004 SUSTENANCE + CHICKENS & ASSHOLES 2002 SEXUAL PERVERSITY IN CHICAGO 1999 HENRY V


ARTIFICIAL FELLOW TRAVELER


Artificial Fellow Traveler written and performed by ETHAN SANDLER was workshopped at Big Daddy's Antiques in Los Angeles February 20th through March 12th, 2012 under the direction of DANIEL GOLDSTEIN  with the following crew:

Producer
ANDREW CRABTREE
Video Content
DAN MILDER
Graphic Design
BILL STRECKER
GREEDY


greedy by KARL GAJDUSEK opened at the El Centro Theatre in Hollywood January 8th, 2011 and ran through January 29th under the direction of JAMES RODAY with the following cast and crew:

Momma
GEMMA LEVINSON
Daddy
KYLE HAMILTON
Paul (Sat + Sun)
KURT FULLER
Paul (Thurs + Fri)
PETER MACKENZIE
Keira
MAGGIE LAWSON
Louis
BRAD RAIDER
Janet
AMANDA DETMER
Tatiana
IVANA MILICEVIC



Producer
ANDREW CRABTREE
Production Stage Manager
JEN BENDIK
Scenic Design
KURT BOETCHER
Lighting Design
MIKE DURST
Costume Design
GALI NOY
Sound Design
JOHN ZALEWSKI
Special Prop Design
KERRY DERZIUS
Technical Director
STEVE BARR



Asst. to the Artistic Director
KATE DOUGLAS
Asst. Director
RACHEL JENKINS
Asst. Stage Manager
GEMMA LEVINSON
Casting Director
MONIKA MIKKELSEN
Public Relations
LUCY POLLAK
Videography
DAVID RODRIGUEZ
Graphic Design
BILL STRECKER
Special Events Coordinator
ALLIE ERMEL
Board Op
KRISS MEIER

Five people struggle with their greed, hope, desire and integrity in the wake of an emailed plea for money promising big returns. Is it a scam or a golden opportunity?


EXTINCTION


EXTINCTION by GABE McKINLEY opened at the Elephant Theatre in Hollywood November 21st, 2009 and ran through December 13th. It then re-opened at the Cherry Lane Theatre Off-Broadway February 13th, 2010 and ran through March 14th. Both productions were under the direction of WAYNE KASSERMAN with the following cast and crew:

Max
MICHAEL WESTON
Finn
JAMES RODAY
Missy
AMANDA DETMER
Victoria
STEFANIE E. FRAME


Producer
BREANNE MOWDY
Production Manager (NY)
JAMES KING
Production Stage Manager (LA)
SUSAN K. COULTER
Production Stage Manager (NY)
AUDRA ROBERSON
Scenic Design (LA)
KURT BOETCHER
Scenic Design (NY)
STEVE KEMP
Lighting Design (LA/NY)
MIKE DURST
Costume Design (LA/NY)
GALI NOY
Technical Director (LA)
STEVE BARR
Public Relations (LA)
LUCY POLLAK
Public Relations (NY)
SAM RUDI

EXTINCTION is a darkly funny drama exploring the evolution of friendships - and the lengths to which we go to save them from falling into extinction. 

College buddies Max and Finn have always spent their vacations in the fast lane, religiously drinking, drugging and chasing women ... but this time something is different. In a hotel room in Atlantic City, the two friends face-off with their indulgent past and take a sober look at their all-too-present future.

WAYNE KASSERMAN'S Director's Note:
While doing research for this play many months ago, I was struck by something I read that encapsulated for me the spirit of Gabe McKinley's EXTINCTION. Scientifically, there are two types of extinctions – phyletic and terminal. Phyletic extinction occurs when one species evolves into another with time; in this case, the ancestral species can be called extinct while the new continues to develop. In contrast, terminal extinction marks the end of an evolutionary lineage – the termination of a species without any descendants. It is this subtle, albeit striking, difference between the two that lies at the heart of this play. Life presents us with the constant challenge of adapting to the world around us. After all, change is inevitable. Though the process is rarely easy, it is this struggle that either makes or breaks us. Living in the past rather than the present, for instance, we can unwittingly face our own terminal extinction by not moving forward. Those who can rise to the occasion of adaptability – bending, adjusting, and growing – can choose to redefine who they are and create the life they want to live. Our existence is held in balance by our vision and our malleability, and often the influences of others can either hold us back or allow us to move on. Extinction is necessary. Without it, how could we evolve?

CLICK HERE TO PURCHASE THE PLAY FROM SAMUEL FRENCH

GRAND DELUSION


GRAND DELUSION by DAVID ROCK opened at the Lost Theatre in Los Angeles November 17th, 2007 and ran through December 15th under the direction of LARRY BIEDERMAN with the following cast and crew:

Austrian Archduke Franz FERDINAND
TIM BANNING
Austrian Foreign Minister Count RUMPLEDORF
TIMOTHY OMUNDSON
French Six-and-a-Half-Star General FAFOU
ERIC STONESTREET
KAISER Wilhelm II
KURT FULLER
CZAR Nicholas II
XANDER BERKELEY
PODNOV, a footman
BRAD RAIDER
VENETIA, Duchess of Shrewsberry
AMANDA DETMER










Producer
MICHAEL MANSHEL
Producer
GUSTAVO SPOLIANSKY
Co-Producer
TIM BANNING
Stage Manager
SUSAN K. COULTER
Asst Stage Manager
BREANNE MOWDY
Scenic Design
SHANNON SCROFANO
Lighting Design
JOHN ECKERT
Sound Design
COLBERT S. DAVIS IV
Costume Design
SANDRA BURNS
Technical Director
MIKE ZIMMERMAN
Asst Scenic/Prop Design
J LAUREN JACKSON
Asst Scenic/Prop Design
COURTNEY OLSON
Herman
ALISON HEIMSTEAD
Portraits/Makeup Effects
XANDER BERKELEY
Public Relations
LUCY POLLAK
Casting Director
MONIKA MIKKELSEN
Graphic Design
B.E.
Web Design
RILEY BERTON
Back Cover Illustration
RON YAVNIELI
Publicity Photos
ALAN LOAYZA
RED DOG Photo
EVA WEISS
Party Planner
LESLEY WORTON
Theatre Manager
CINDA JACKSON











The year is 1914. The world is on the brink of war and chaos. Millions of lives hang in the balance and the fate of future generations is being shaped boldly by a few good mad men. GRAND DELUSION, the brand-new, biting black comedy from playwright David Rock, imagines a secret summit of world leadersin the days immediately preceding World War I. The madcap cast of historical and fictional characters includes a paranoid and megalomaniacal Kaiser Wilhelm; his dimwitted cousin Czar Nicholas II; and an Austrian foreign minister hungry for a war that will suitably impress his beautiful girlfriend. It's a dark and wickedly funny depiction of how the gears of diplomacy just might have turned to alter history forever...

A Note From Playwright, DAVID ROCK:
In July of 1914, spawned by the industrial revolution, Europe was a continent luxuriating in a period of unprecedented economic prosperity, interdependence, and relative peace (outside the Balkans). The seeds of civilization planted in the Enlightenment were bearing the fruits of an increasingly liberal and rational society. However, outside of France and Switzerland, monarchies still remained dominant. Then on June 28, 1914, an Austrian archduke known best for his passion for hunting, and for evoking near-universal disdain, was assassinated (inside the Balkans). Shortly after, Europe launched itself into a cataclysmic conflagration so fierce, spreading so wide, that its repercussions continue to define our geopolitics to this day. Over the past hundred years we have come to understand nearly everything about this great inferno that changed the world forever. Except for precisely why it started. That is, until now . . .


SUSTENANCE + CHICKENS & ASSHOLES


sustenance written and directed by JAMES RODAY and Chickens Assholes written and directed by AARON SAIDMAN opened at the Stella Adler Theatre in Hollywood February 12th, 2004 and ran through February 14th with the following cast and crew:

Happy Jack
MATT BENNETT
Very Best Buddy
DANA ASHBROOK
Shiny Penny
NIAMH McCORMALLY
Birthday Boy
BRAD RAIDER
Feng Shui
RENEÉ J. TAN
Moto (from across the hall)
TODD JASON HARTHAN
Cassidy Lynn Kellogg
AMANDA DETMER
Charles Poindexter
MACKENZIE ASTIN
Rupert Greenspan
JAMES RODAY
Priscilla Bang
VIVIAN BANG
Superior Officer
FREEMAN MICHAELS
“Thank You For Watching”
SEANNA HORE
Assistant Director
DAVID L. ROCK
Production Coordinator
CATHERINE CAHILL
TD/Lighting Design
PARKER YOUNG
Set Design
KERRY DERZIUS
Costume Design
GALI NOY
Properties
MICHAEL BATES
JESSICA SAMUELSON
KATIE SANNER

Special Make-Up Design
FARAH BUNCH
Special Hair Design
NICOLE FRANK
Postcard/Poster Design
DAVID RODRIGUEZ
Sound Designer (C&A)
ASSAF LOTAN
Cinematographer
MATT DEETSCH

sustenance + Chickens & Assholes are a pair of original one-act plays about very best buddies and bomb-throwing extremists.


SEXUAL PERVERSITY IN CHICAGO


Sexual Perversity In Chicago by DAVID MAMET opened at the Stella Adler Theatre in Hollywood December 18th, 2002 and ran through December 21st produced by special arrangement with Samual French, Inc under the direction of BRAD RAIDER with the following cast and crew:

Danny Shapiro
JAMES RODAY
Bernard Litko
BRAD RAIDER
Deborah Soloman
NIAMH McCORMALLY
Joan Webber
LILLI BIRDSELL








TD/Lighting Design
PARKER YOUNG
Set Design
NECK WILLIAMS
Costume Design
MURPHY LATOUR
Property Design
LORI JO PIQUE
Soundscape
ABE DRIDRAR
Postcard/Poster Design
DAVID ISERSON
Stage Manager
CHRIS MacEWAN
Co-Producer
TODD SHOTZ

The action takes place in various spots around the North Side of Chicago, a Big City on a lake. Summer. 1986.

Please turn all cell phones and pagers into vibrators.


HENRY V


HENRY V by WILLIAM SHAKESPEARE opened at the Mazer Theatre in New York City October 25, 1999 and ran through December 4th under the direction of LAURIE WESSELY with the following cast and crew:

Chorus
PHILIPPE BRENNINKMEYER
Henry
BRAD RAIDER
Canterbury / Fluellen
MICHAEL HOGAN
Ely / Gower
DAVID ANDREW SALPER
Exeter
GABRIEL SILVA
Gloucester
ERIC FELDMAN
Westmoreland
DAVID C. ROBINSON
York / Jamy / Court
MICHAEL STOCK
Salisbury / MacMorris / Bates
CHRISTIAN CONN
Cambridge / Governor
SID HAMMOND
Scroop / Orleans
DAVID LOOK
Grey / Rambures
JARED DAWBER
Montjoy / French Soldier
BOLTON MARSH
Nym / Williams
RAY RODRIGUEZ
Bardolph / Erpingham
HUGH SCULLY
Hostess Quickly / Queen of France
MELANIE S. MURRAY
Pistol
JEFFREY SUTTON
Boy
JOHN ANDREW BURNETT
King of France / Le Fer
DAVID McCAMISH
Dauphin
MICHAEL RUBENSTONE
Constable
NICHOLAS ROCHETTE
Katherine
NIAMH McCORMALLY
Alice
DEB HIETT BORGIA
Burgandy / French Soldier
PETER TEDESCHI

Fight Director
J. DAVID BRIMMER
Executive Producer
SAMUEL PORAT
Associate Producer
MELISSA BRYANT
Stage Manager
ELIZABETH GREENMAN
Production Stage Manager
SKEETER
Set Design
JEFF NEWBURGER
Lighting Design
JONAH MEACHAM
Costume Design
SARAH J. TOSETTI
Sound Design
JARED COSEGLIA
Press
OPR / DAVID LOTZ
Marketing
BRUCE ROBERTS
Assistant Director
MELANIE S. ARMER



LAURIE WESSELEY'S Director's Note:
What is it about King Henry V? 400 years after Shakespeare wrote this play The Life of King Henry the Fifth, and nearly 200 years following Henry's coronation, the world is still fascinated by this man. He was a youthful ruler, not confined in many ways by his time, neither military rules nor social custom. Henry was faced with extraordinary odds at Agincourt (the play cites 60,000 Frenchman opposing 12,000 English, and although that may be an exaggeration, as certainly the death toll in the text of 10,000 French and 29 English must be, the odds were by all counts at least fearful.) But instead of playing by the customary rules of warfare at the time, Henry fought the battle from behind a line of yeoman archers who cut down the French nobles and their horses, hopelessly stranded in the muddy fields. He fought side by side with members of all classes, as well as Scots, Irish, and Welsh fighters, creating a united front unprecedented in English history. Although Henry is not really a tragic figure, at least not in the course of this play, he is a man of great complexity, charisma, of thought, of emotion, and above all, a man of action. All these admirable traits Shakespeare presents to us, along with some of the most extraordinary poetry of the canon.

Although the history of this king is fascinating, I find myself drawn to his extraordinary spirit. He chooses, the night before a battle in which his troops are doomed to overwhelming defeat, to wander among his men, to give comfort, to understand their feelings, to pray for their cause, to engage them in theological debate. He does not do what other kings of his time would certainly have done and ransom himself to the French. He follows his cause into battle, and although he does not always choose the most humane path by modern standards, he certainly ruled his kingdom and his troops with great conviction and care. He is careful to treat the French with dignity and respect outside the battlefield, and his own troops with honest leadership and a bond of brotherhood. This production was particularly inspired by the thought that, were Henry a modern figure, circumstances might have allowed him to be a man of peace, of diplomacy, of spirituality. In his time, his leadership was expressed through the necessary brutality of military expression, and this production certainly does not shrink from that; but today Henry might have the opportunity to fight his cause on a different kind of battlefield, as other great leaders of our century.

"Our enemy is our best guru. From him we learn our most valuable lessons: compassion, understanding..." - The Dalai Lama